Greatest Horror of All Time - where to begin?

[OSJ]

I had just assumed that for some reason obscure to me you had it ranked somewhere between 51-60. ;-) 

[J.T.]

I just remembered that I have the unedited version of House (1977) on my DVR after remembering to record it when it was on TCM at three in the morning last Wednesday. 

I'll have to watch that before this poll kicks off.  I have hunted for the Criterion version of House at my local Barnes & Noble, but it always seems to be out of stock.

It's getting to the point where I am going to have to pay better attention to TCM's overnight schedule.  I have missed Les Yeux Sans Visage / Eyes Without A Face (1960) like four times because it always manages to come on at some ungodly hour.

The edited for television version of The Babadook is on demand for those who have Chiller in their channel line up.

[OSJ]

I wouldn't mind watching The Babadook again, because it's such a cool film, but how badly chopped is the edited for TV version? 

Now how did I forget about House? I'm trying to wrap my head around the idea of Duel and Jaws as "horror". Okay the first to me is simply a suspense flick and while I'm very interested in seeing how my bro J.T. presents it as a "horror" film, I kinda doubt that I'll be swayed. Now as for Jaws, I often (as is the case with many of my people) have been accused of being too stupid or arrogant to know when to be scared; (yeah, maybe so, it's an Irish thing) ;-). That said, nothing terrifies me more than sharks, nothing. 

I have accidently hooked the little ones (dogfish) when fishing off the docks of Puget Sound as a lad, and those things scare me and they're only about a foot and a half long. A great white is something I never hope to see, and as a matter of fact, I live about as far away as it's possible to get from the critters and they still creep me out... But, is Jaws horror? Hyenas creep me out too, though I've only seen two and they were in a zoo behind glass where they couldn't get at me, but would I put a film about hyenas on the "horror" list? I don't think so. By that same token, I have a hard time making the leap from "suspense" to "horror" in the case of Jaws. Yeah, the shark is monstrously large for its species, but not entirely out of the realm of possibility (I understand they've tagged and tracked a female that's well over the twenty-foot length in the Pacific, so there's no reason to think that a whopper like the shark depicted in Jaws isn't swimming around somewhere doing shark things (which basically means eating). 

We talk about the human monster like Hannibal Lecter as being "real", and certainly coming from the home State of Gary Ridgeway I can easily accept that. But in Jaws, we're talking about a big fish doing what a big fish does naturally, it may be inconvenient as all get out to us humans, but that's what sharks do, they eat. Granted there's some silliness (not nearly as bad as in the sequels) that make the shark seem more of an evil force than simply a natural one, but I still can't see calling it "horror" any more than I would a documentary about grizzly bears (which I'm not real fond of either). Animals doing what animals do, isn't "horror", it may be "horrific" to us but the bottom line is it's nature. 

[The Comedian]

I've been jotting down movies as they come to me/as I watch them too...my list so far:

Spoiler

Alien (1979, Scott)

All The Colors Of The Dark (1972, Martino)

Arachnophobia (1990, Marshall)

At Midnight I'll Take Your Soul (1964, Marins)

The Babadook (2014, Kent)

Baron Blood (1972, Bava)

The Beyond (1981, Fulci)

Black Sabbath (1963, Bava)

Black Sunday (1960, Bava)

The Blob (1988, Russell)

Cannibal Apocalypse (1980, Margheriti)

Carnival Of Souls (1962, Harvey)

Cat People (1942, Tourneur)

Children Shouldn't Play With Dead Things (1972, Clark)

City Of The Living Dead (1980, Fulci)

The Conjuring (2013, Wan)

The Conjuring 2 (2016, Wan)

Creepshow (1982, Romero)

Dawn Of The Dead (1978, Romero)

Day Of The Dead (1985, Romero)

The Dead Zone (1983, Cronenberg)

Deathdream (1972, Clark)

Deep Red (1975, Argento)

Duel (1971, Spielberg)

Equinox (1970, Woods)

Event Horizon (1997, Anderson)

The Evil Dead (1981, Raimi)

Exit Humanity (2011, Geddes)

Feast (2005, Gulager)

The Fog (1980, Carpenter)

Freaks (1932, Browning)

The Haunting (1963, Wise)

Haxan (1922, Christensen)

Hell Of The Living Dead (1980, Mattei)

The Hitcher (1986, Harmon)

Hour Of The Wolf (1968, Bergman)

The House By The Cemetery (1981, Fulci)

The House With Laughing Windows (1976, Avati)

Inferno (1980, Argento)

The Iron Rose (1972, Rollin)

Island Of Lost Souls (1932, Kenton)

It (2017, Muschietti)

Jacob's Ladder (1990, Lyne)

Jaws (1975, Spielberg)

Jigoku (1960, Nakagawa)

Kuroneko (1968, Shindo)

Kwaidan (1964, Kobayashi)

The Last Broadcast (1998, Avalos/Weiler)

The Last Man On Earth (1964, Ragona)

The Legend Of Hell House (1973, Hough)

Let's Scare Jessica To Death (1971, Hancock)

Let Sleeping Corpses Lie (1974, Grau)

Masque Of The Red Death (1964, Corman)

Night Of The Living Dead (1968, Romero)

Nosferatu (1922, Murnau)

Nosferatu The Vampyre (1979, Herzog)

Onibaba (1964, Shindo)

The Others (2001, Amenabar)

Phenomena (1985, Argento)

Pitch Black (2000, Twohey)

Prince Of Darkness (1987, Carpenter)

Prometheus (2012, Scott)

The Red Queen Kills Seven Times (1972, Miraglia)

Return Of The Blind Dead (1973, de Ossorio)

Return Of The Living Dead (1985, O'Bannon)

The Ritual (2017,  Bruckner)

Salem's Lot (1979, Hooper)

Session 9 (2001, Anderson)

The Shining (1980, Kubrick)

Silent Hill (2006, Gans)

Silent House (2011, Kentis/Lau)

Sleepy Hollow (1999, Burton)

Society (1989, Yuzna)

Street Trash (1987, Muro)

Suspiria (1972, Argento)

The Thing (1982, Carpenter)

Toad Road (2013, Banker)

Tombs Of The Blind Dead (1971, de Ossorio)

Troll Hunter (2010, Orredal)

28 Days Later (2002, Boyle)

Vampyr (1932, Dreyer)

A Virgin Among The Living Dead (1973, Franco)

Viy (1967, Ershov/Kropachyov)

We Are Still Here (2015, Geoghegan)

White Zombie (1932, Halperin)

The VVitch (2015, Eggers)

Zombi Holocaust (1980, Girolami)

Zombi 2 (1979, Fulci)

 

Edited June 5, 2019 by The Comedian
continually adding to list

[S.K.o.S.]

12 minutes ago, The Comedian said:

Prince Of Darkness (1987, Carpenter)

Just watched this for the first time last night.  Very good once things get going.  Seems pretty clear that it was a big influence on The Void.

[Curt McGirt]

Prince of Darkness is def. making my list. It's probably the most underrated Carpenter film ever -- even In the Mouth of Madness gets more praise. Well, okay, Vampires is more underrated but it's not as good as Prince. 

1 hour ago, The Comedian said:

Hell Of The Living Dead (1980, Mattei)

The balls on THIS guy! I can go Nightmare City or Cannibal Apocalypse, but Night of the Zombies is stretching it. (and I love that movie btw haha)

[The Comedian]

Actually I should probably put Cannibal Apocalypse on the list. If nothing else it's interesting in that it took the "anthropophagy contagion" concept and removed the zombie part of it. And John Saxon!

I like Hell of the Living Dead a lot. It's a quality cheap-o zombie flick. As opposed to, say, Zombie Lake or Oasis of the Zombies, which just flat out suck. I don't know what it is with zombies and water and terrible movies...

[J.T.]

On ‎5‎/‎10‎/‎2017 at 10:18 AM, OSJ said:

I'm trying to wrap my head around the idea of Duel and Jaws as "horror".  Okay the first to me is simply a suspense flick and while I'm very interested in seeing how my bro J.T. presents it as a "horror" film, I kinda doubt that I'll be swayed.

Now as for Jaws, I often (as is the case with many of my people) have been accused of being too stupid or arrogant to know when to be scared; (yeah, maybe so, it's an Irish thing) ;-).

Well, the most basic argument I can give pretty much encompasses the idea of the shark from Jaws and the Truck from Duel being presented as unnatural monsters rather than natural beings and IMO this is deliberate on Spielberg's part.

There are several scenes in Jaws that imply (if you're engineered towards such things) that the shark is actively hunting human beings.  Unlike Peter Benchley's novel which clearly depicts some events from the shark's point of view and has the shark doing natural things, Spielberg focuses exclusively on events from the human perspective and from that point of view, it always appears that the shark deliberately pursues human beings in preference to other traditional food sources.   The shark wants to kill people.

This adds to the suspense as time draws close to the showdown.  In order to destroy this monster, the heroes will have to venture out into an environment where the shark has home court advantage. Knights rushing towards the dragon's den and that sort of thing.

As for Duel, Spielberg has admitted in several interviews that the ominous Truck was designed on purpose to look menacing.   A railroad tie was substituted for a normal front bumper and the battered license plates represent the territory that this particular monster patrols, much like the shark in Jaws, and you're never able to see the driver in the cab, so the Truck itself is the creature stalking the highways.

There used to be an urban legend that the license plates were trophies from other victims of the Truck (ie. the driver put the license plates of the other cars he smashed on the front of his vehicle), but if you look closely they all have the proper HUP (Highway Use / Property Tax) or MC (Motor Carrier) engravings on them.

There have always been attempts to discern the nature of the driver in Duel and humanize the story but if you take the film at face value, the adversary of the film is always presented as the Truck itself.

And then there is the "ding dong the witch is dead" catharsis at the endings of both movies. 

If Jaws was merely a man vs. nature epic like Moby Dick, why is the SMILE YOU SON OF A BITCH~! part so satisfying?  If Duel was merely a man vs. man story, why does Duel display the destruction of the Truck with so much violent pageantry?

Why is it necessary for the audience to see the "monster" be destroyed? Catharsis! 

But isn't that sort of feeling reserved for when "good" triumphs over "evil"? If these stories were about natural things, why do you feel compelled to assign morality to the parties involved?

That's my logic, anyway.

[Curt McGirt]

7 minutes ago, The Comedian said:

I don't know what it is with zombies and water and terrible movies...

This guy begs to differ

[Curt McGirt]

I agree with J.T.'s logic (and he didn't even mention the Godzilla noise the truck makes going off the cliff, emphasizing its status as a monster) but those two movies will have their votes no matter what. I'm giving mine to something like House by the Cemetery, which is my second favorite ghost movie and third favorite zombie movie ever. 

[odessasteps]

I assume you could argue the truck in Duel is akin to the car in THE CAR and it's mystical or satanic. 

[J.T.]

22 hours ago, odessasteps said:

I assume you could argue the truck in Duel is akin to the car in THE CAR and it's mystical or satanic. 

Not necessarily satanic, but definitely malevolent or maliciously indifferent not unlike Room 1408 or the Overlook Hotel from The Shining. .

It's a toss up to what concept is more frightening: something that actively wants to eliminate your existence out of evil or spite or something that unknowingly destroys you because it considers you to be insignificant.

[OSJ]

33 minutes ago, J.T. said:

Not necessarily satanic, but definitely malevolent or maliciously indifferent not unlike Room 1408 or the Overlook Hotel from The Shining.

So the truck as a mobile genius loci? I can sort of get behind that.  On the other hand, all of the Spielbergian changes from the novel that you cite to classify Jaws as "horror" are the things that I consider "problems" or to put it more bluntly, "shitty writing". Whereas Benchley gives you "Hey easy new food source" because people are greedy and stupid; Spielberg's rather pedestrian attempts to make the shark larger than life just don't ring true. Certainly (as I've said), not as bad as the sequels where you have nonsense like a shark missing a mate, chasing people up a river, or similar horseshit, but the attempts to transform the film from "suspense" to "horror" are the very things that weaken the film rather than strengthen it. 

So, (for me, anyway), putting Jaws on my "horror" list starts to look akin to rewarding an MMA guy with a title shot after turning in a shitty performance. 

[J.T.]

3 hours ago, OSJ said:

So the truck as a mobile genius loci? I can sort of get behind that.  On the other hand, all of the Spielbergian changes from the novel that you cite to classify Jaws as "horror" are the things that I consider "problems" or to put it more bluntly, "shitty writing". Whereas Benchley gives you "Hey easy new food source" because people are greedy and stupid; Spielberg's rather pedestrian attempts to make the shark larger than life just don't ring true. Certainly (as I've said), not as bad as the sequels where you have nonsense like a shark missing a mate, chasing people up a river, or similar horseshit, but the attempts to transform the film from "suspense" to "horror" are the very things that weaken the film rather than strengthen it.  

From a certain perspective, I agree and from another, I don't.

Benchley has the luxury of spinning one tale for a huge audience, but it will be read by only one person at a time.  So Jaws can pretty much be Moby Dick With A Shark and things will be okay. 

You can spin a man vs. nature tale in the spirit of White Fang with no harm or foul or fear of reader misinterpretation because a reader can either re-read a chapter or pick up the book again at another time..  Primal fear or empathy for the human characters will get the job done just fine. 

Spielberg has the daunting task of hooking a large audience all at once and this is in the days way before VCR, so he's only got one shot at this.. 

He can't put a group of people on the same page with a man vs. nature epic because people are sometimes assholes and you will be hard pressed to get 100% audience sympathy for the human characters because some douchebags (like me) will take the "Serves them right for swimming in the water with a fucking great white shark.." position.

The easiest and perhaps laziest way to get all of these people on board at the same time is to vilify the shark and turn it into an evil or uncaring monster.  You give it beady black eyes that are completely emotionless and make it immensely strong and vicious and give it a scary theme song to herald its entrance and you make it ruthlessly kill women and children as well as men and you always make it seem that it genuinely desires to end human life above all else.

Because we all know that MONSTERS DON'T KILL AND EAT PEOPLE BECAUSE THEY'RE HUNGRY~!

Most importantly, you never ever ever let anyone see what the monster looks like until you're ready to reveal it.

And for the pièce de résistance, you put the monster and its violence on full display so that when the "knight slays the dragon," the audience goes batshit insane with euphoric catharsis.

 

[OSJ]

As will come as a surprise to no one, I agree with far more than I disagree with; in fact, it isn't until we get to paragraphs six and seven that you give me a bone to chew (so to speak). I was going to comment on this in another thread, where the discourse was drifting in the direction of "what's scarier", malign, purposeful evil or the horrifying indifference of a completely non-human mind (or lack of a mind). To me, as a horror professional, it's never, ever been close. The latter is always far more terrifying; the thing about "purposeful" (or to use the gaming terminology, "lawful") evil, is that anything that implies purpose, implies thought and reason. The thought and reason may be pretty damn capricious, but their very presence implies a possibility of "reasoning with". Maybe not a great possibility, but a possibility none-the-less; you can appeal to Hannibal Lecter's senses of taste (no pun intended), decorum, and indeed, civility and in his admittedly totally unhinged weltanschauung he will follow a consistent course of behavior. 

You can't appeal to the dead-black, soulless eyes of a perpetual eating machine, and herein is where I think Spielberg underestimates his audience and weakens his narrative. Sharks are scary as fuck just as they are, they require no added embellishment to be scary. In another post, I mentioned occasionally hooking a dogfish when fishing off the pier in Puget Sound for lingcod and/or flounder; there's not a great deal of damage that a 10-20 lb. fish can do to a 200 lb. person, but that doesn't mean that the damn things weren't still trying to bite when pulled out of the water. That's just how the species is hardwired, perpetual motion and perpetual hunger, that's just how they are and that's plenty scary all by itself.

I think the most damning comment regarding Jaws comes not from me, but rather from you, (italics mine): "The easiest and perhaps laziest way to get all of these people on board at the same time is to vilify the shark and turn it into an evil or uncaring monster." And therein lies my major problem(s) with Jaws, it's like putting the word "spicy" on a bottle of hot sauce (that's clearly labelled "hot sauce"), pretty damn redundant, there's no "turn it into" required here, further, this is like asking Lennox Lewis to wear one-inch lifts in his shoes to look like a big, scary dude. Newsflash, (despite being a very pleasant person),  Mr. Lewis is a big, scary dude and another inch of height isn't really necessary. What I feel knocks Jaws from "great" down to merely "very good" is Spielberg's lack of confidence in either his audience or himself, (I'm not sure which it is), but either is unfortunate. 

Spielberg has been proven to be capable of great things on many occasions, I'm just reminded of the old saw regarding artistic endeavor "How many people does it take to paint a masterpiece?" The answer being "Two; one to create the painting and one to hit the creator over the head to stop them when it's finished." 

+

[J.T.]

17 hours ago, OSJ said:

You can't appeal to the dead-black, soulless eyes of a perpetual eating machine, and herein is where I think Spielberg underestimates his audience and weakens his narrative.

You'll get no argument from me there.  Problem with Jaws The Movie is the simplified human element.  It has the traditional us vs. them tug of war going on, rather than the tragic back and forth of emotional politics from novel where the shark is pretty much in the background.

You have poor Sheriff Brody dealing with a bunch of asshole town officials that only care about tourist dollars.  I'd argue that the real villain of the movie isn't really the shark:  it's Amity's odorant douchebag mayor, Larry Vaughn, brilliantly portrayed by Murray Hamilton. 

In that light, the shark is more of a comeuppance than anything else.  It is Amity's punishment for the sin of avarice, but the last thing you want to do is have an audience side with the fucking shark so Spielberg has to take something that is already naturally terrifying and add morality to it, so the Great White becomes a deliberately malevolent force; a sea monster.

And since we're dealing with a sea monster, it needs to die.... violently...

I've always told people to read the novel before watching the movie and not visa versa.  People expecting the nail biting conclusion from the book are usually disappointed, even though there is nothing wrong mechanically with the way the novel ends.

 

[Curt McGirt]

I was watching Silence of the Lambs on BBC so I made my top fifty. Here ya go: 

Spoiler

Night of the Living Dead
The Texas Chain Saw Massacre
Alien
The Haunting
Witchfinder General
Tales from the Crypt
The Hills Have Eyes
Zombie
Maniac
Inferno
-----
Phantasm
Day of the Dead
Halloween
Dawn of the Dead
The Thing
Suspiria
Black Sabbath
Shivers
The House by the Cemetery
Nosferatu
-----
The Cabinet of Dr. Caligari
City of the Living Dead (The Gates of Hell)
Black Christmas
Les Yeux Sans Visage (Eyes Without A Face)
Horror of Dracula
The Beyond
Tenebrae
Frankenstein
Manhunter
Hellraiser
-----
House on Haunted Hill 
The Fog
Psycho
The Wicker Man
The Last Man On Earth
The Silence of the Lambs
The Devils
Masque of the Red Death
Curse of the Werewolf
Mark of the Devil
-----
At Midnight I'll Take Your Soul
Burnt Offerings 
The Evil Dead
Creepshow
Blood and Black Lace
The Texas Chainsaw Massacre 2
Henry: Portrait of a Serial Killer
The Body Snatchers
Dead of Night
The Abominable Dr. Phibes
 

 

[Curt McGirt]

Edited. Halloween 2 goes to the bottom half

And also: The Spanish version of Dracula? Shit...

EDIT III: The Omen, The Exorcist, and something else that just escaped my mind while watching The Innocents are going on too. Omen is going to be top ten, Exorcist somewhere in the thirties. And Exorcist III is going on while I'm thinking about it

[Curt McGirt]

I'm watching Blood Simple right now and I'm really, really close to breaking another rule that I've decided to have with the list, which is also why Wait Until Dark isn't going on. 

Meanwhile, further list additions will include:

Dead Alive

Videodrome

Near Dark

I really don't know where to put some other '80s classics -- namely Re-Animator and The Return of the Living Dead. The humor element messes it up for me. And I know I'm going to forget a LOT of new stuff that deserves the bump. 

Shit, I'm totally breaking that rule: Seven is going on. And we'll see about Blood Simple by the time it's finished. Rippa's iMDB rule says neither go on though so...

EDIT: I would love to have Blood Simple. The only way it would fit is using yet another Rule though... the Giallo Rule. And if M. Emmet Walsh isn't nastier than Jaws, then I'll be damned. (BTW, he's only listed as PRIVATE DETECTIVE in the credits! He doesn't even have a fucking name)

[jiraffejustin]

This type of project is right down my alley. I love horror films, and my only problem is going to be which films to cut from my list. 

 

I'd like to give some love to maybe some under the radar picks:

 

Nosferatu the Vampyre (1979; Warner Herzog) - Herzog and Kinski team up again, this time in the most beautifully shot horror film of all-time. It's also one of the creepiest. 

Who Can Kill a Child? (1976) - This film is the pinnacle of the evil children subgenre. The pinata scene is the best. 

Amer (2009) - I am a big fan of art films, surrealism, and giallo, so this film is practically made for me. 

The Phantom Carriage (1921) - IMDb lists this as horror, but I am not entirely sure if I agree with that. Regardless, if it counts, I'll probably vote for it. It's a masterful silent film.

Angst (1983) - A top ten pick for me, maybe top five. One of the most visceral horror experiences I've ever had, was this hard-to-stomach (should be) classic. It's in the vein of Henry, in terms of content, but directed much better. Just like Henry, it's an incredibly tense film. 

The Beyond (1981) - I haven't been around this forum long enough to know how Lucio Fulci is considered here, so maybe this is or isn't an under-the-radar pick. Either way, it deserves mention. Plot wise, you can find better material almost anywhere, but as far as a surreal atmospheric trip goes, you can't do much better. 

The Texas Chainsaw Massacre 2 (1986) - Obviously you should vote for the original TCM, because it's one of the ten best horror films of all-time, but you should at least give TCM 2 a fighting chance. It's a lot less scary, but it's definitely a fun and at times creepy ride. 

The Prowler (1981) - As far as slashers go, this is one of the best formula slashers. If you don't like slashers, you probably don't need to see this. 

Hellbound: Hellraiser 2 (1988) - This is sort of the same situation as TCM 2, except I like this more than it's original film. It has a really cool depiction of Hell. 

House (1977) - The less said, the better. You just need to watch this film, because there is nothing else like it. 

The Innkeepers (2011) - I don't know, I might be alone on this, but I thought this was a really tense ghost story film that oozed atmosphere. 

Christmas Evil (1980) - The best Christmas horror film of all-time. It's almost more of a character study than a full-blown horror film, but it's very effective as a depiction of a man's descent into madness. 

The Sacrament (2013) - Two Ti West films and no mention of House of the Devil? I actually haven't seen it, but this film is another really tense film that has a subject matter that interests me. That might make me like it a little more than I should. 

Possession (1981) - A serious contender for my top spot. I think people fall into two camps for this film: those who think it's brilliant and those who think it's silly. You just have to watch the scene with Isabelle Adjani in the subway, I think it's some of the best acting I've seen and others think it's completely ridiculous. It's an amazing film about the feeling of separation, a pretty universal feeling among any person who has ever had any kind of relationship. 

Excision (2012) - AnnaLynne McCord gives a very surprising performance, and is very good as the very disturbed main character in this film.

Jason X (2001) - Okay, not under-the-radar, but definitely underappreciated.

Ghostwatch (1992) - I was going to ask whether or not this was eligible, but it looks like somebody earlier in the thread already mentioned it. It's the Blair Witch Project before the Blair Witch Project, but in a totally different setting and with less shaky cam. 

Jigoku (1960) - Perhaps the greatest depiction of Hell ever on screen. It's up there with Dante's Inferno from 1911 and Hellraiser 2 as my favorites. 

Blind Beast (1969) - This movie is fucked up. 

Knock Knock (2015) - It's not necessarily good, but it's a lot of fun. It's a fringe candidate for my list.

The Babadook (2014) - The best film about grief being manifested as a babadook I've ever seen. 

 

[Curt McGirt]

Possession... you just made the List! 

Still haven't seen Who Can Kill A Child?, Angst, or The Blind Beast. The last one was written about in whispers in Fangoria and I never rented it when I had the chance. 

For those making a less obscure list than we might make, go look up The Sacrament on Netflix for sure. And for fuck's sake watch Texas Chainsaw 2 and The Beyond, they are a lock. If anyone's interested, here's the patchup on the list so far: 

Spoiler

Halloween 2 
The Omen (top ten)
The Exorcist (top twenty/thirty)
The Devil's Rejects
The Exorcist III: Legion
Tales from the Hood (top twenty/thirty)
Demons
Videodrome
The Church
Prince of Darkness
Seven
Blood Simple (?)
The Descent
The Strange World of Coffin Joe
Possession (top twenty/thirty)

EDIT: Add Jigoku to the list of never seens. Goddammit...

EDIT like 81097017: From Dusk Till Dawn is making the list.

[Control]

Have any of y'all seen IN A GLASS CAGE (1986)? One of the most disturbing films I've ever seen.

[J.T.]

15 hours ago, Control said:

Have any of y'all seen IN A GLASS CAGE (1986)? One of the most disturbing films I've ever seen.

No, but I've heard about it.  Yow.

I envy your favorite underground DVD sales dude because it sounds like he's able to get his hands on some wild shit.

[Control]

6 hours ago, J.T. said:

No, but I've heard about it.  Yow.

I envy your favorite underground DVD sales dude because it sounds like he's able to get his hands on some wild shit.

We used to have a sweet local rental joint, but it was Netfuxed to death.

[brocklock]

I put In A Glass Cage with Salo, Nekromantik, and Man Behind The Sun in the category of too much for me to watch. And then there's the pretend snuff movies like August Underground or Guinea Pig series I feel like I'll end up on a list if I watch. I think the highest I can go with the disturbing movies is Angst, Martyrs, or Henry.